Fear Is the Mindkiller

After the release of “Soul of a New Machine”, Fear Factory would release “Fear is the Mindkiller”, an EP containing three songs from their debut album, but with a twist. The songs were essentially deconstructed, remixed, (“Self Immolation” multiple times) and add multiple electronic sounds to create a techno version of their former selves. Having said that, the songs still contain their original atmosphere and familiar sound in that although each song is completely remixed, you are still able to clearly identify which song it is that has been altered. Much of the original lyrics have been shaved off to pave way for the techno atmosphere, but the vocals that do remain, still give the give off the industrial vibe of their original format. There is plenty of electronic sounds and synthesizers that add layer upon layer of sounds and effects that transform the original song into an interesting rendition of the original that creates new and strange atmospheres for each of the songs. The best way I can put it would be; this is not the techno you hear at the dance club, but rather a heavy metal sounding variety. It's still heavy and still resonates with heavy metal, not so much the poppy variety of techno.

I would also like to note that, this was the introduction of Rhys Fulber's tenure with the band, whom in my opinion, would serve as an unofficial member of the band from this release onward. His skills on programming, sound effects and keyboards have added many layers of depth to the band’s sound over the years. A very under the radar member of the band, but no less important. This is essentially his album (along with Bill Leeb) as the band didn't really have much to do with the remixes, other than provide the original content of course.

I’ve always recognized techno and industrial as the separate genres they are, but respect the fact that there is some overlap in their sound and backgrounds. That being said, I’m not totally shocked that Fear Factory would put forth a heavily techno oriented remixes, but ultimately, the overall result was not exactly my cup of tea. I respect that the band explored their musical interests and also respect the fact that they kept this material on a separate release. I’m also glad, to no offense to techno fans, that this would not carry over onto their next album and onward, although they would dabble in the techno genre in the near future, but that’s another review. It’s an interesting release nonetheless, but unless you’re a diehard Fear Factory fan or a techno fan, this may not be up your alley.

Into the Abyss of Oblivion

I’m going to go right ahead and say it: this is perhaps the most intelligent thing that Fear Factory ever released. I make no secret of my detestation for Demanufacture or my general shrugging in the direction of most of the debut, but Fear is the Mindkiller at least helped to push the envelope a bit, even if it is some kind of masochistic flogging at the hands of a drum machine, a synth, and a death metal bassist. It’s not particularly death metal, it’s certainly not techno, and it only has its teeth latched onto industrial’s backside, but it has an undeniable surge of motion in its concrete grooves and a fair dash of menace in its dubby depths.

However, the odd thing about Fear... is that it isn’t really a Fear Factory release, since they are not responsible for the new songs, only for the originals. On that head, Rhys Fulber and the rest of the remixers deserve a big hand, even more so because their contributions have been downplayed over the years. Always users of electronics in their music, Fear Factory never managed to attach the kind of atmosphere to a song that the soundscapes in ‘Self Immolation (Liquid Sky mix)’ achieve, nor would the song sound nearly as good without them. The pounding, one-dimensional death metal - gravelly bass aside - rarely changes track or mood, whereas the new elements give the song a subtlety and uncertainty that is far more interesting than mere grooves.

Picking a favourite song here is a little difficult, since the general rhythm and tone of the tracks are fairly uniform, plus Burton C. Bell’s vocals are not exactly a focal point due to the trimming of material for the remixes. His harsh delivery is still better than he would ever achieve afterwards, while his cleans do lend ‘Scapegoat’ another dimension, but the inevitable repetition of an industrial-flavoured release render some parts unsavoury - witness the 2 straight minutes of “suffer bastard” in ‘Martyr’ for your example. In the end, it’s the songs with a little more detail, like the aforementioned mix of ‘Self Immolation’, that slightly edge the rest, though they are best experienced as a whole, (mildly) atmospheric trip.